Real change is always violent, but it may hurt a lot less than what's in place before the violence occurs.
Silence marks time, saturates and shapes African-American art. Silences structure our music, fill the spaces - point, counterpoint - of rhythm, cadence, phrasing.
The primary thing writing and basketball share is the sense that each time you go out, each time you play or begin a piece, it's a new day. You can score 40 points one game, but the next game, those points don't count. You can win the Nobel Literature Prize, but that doesn't make the next sentence of the next book appear.
I don't understand why black people have been so quiescent, so passive over the hundreds of years of American history. Why hasn't there been more violence, more armed struggle? I know answers to some of that, but it seems to me it's an issue of faith, an abiding faith in some sort of great beyond, or great spirit, or even in the American dream.
My aunt Geraldine was the unofficial historian and storyteller. She had all the information about family members and the gossip that came out of the church because we were very much part of the African Methodist Episcopal Zion Church. At family gatherings, the older folk had the floor, had pride of place, and it was their stories I remember.
A great artist transforms our world, removes scales from our eyes, plugs from our ears, gloves from our fingertips, teaches us to perceive reality differently.
Writing 'Hoop Roots' was a substitute or a surrogate activity. I can't play anymore - my body won't cooperate - so in the writing of the book, I was looking to tell a good story about my life and about basketball, but I was also looking to entertain myself the way that I entertain myself when I play.
I don't make that hard and fast distinction between political and nonpolitical writing. I write about what bothers me.
I call people by their initials when they're good buddies, and that's a kinda street thing, too - 'Here comes JF,' or, 'Here comes KC.' It's fun; it's intimate.
I assume the risk of allowing my fiction to enter other people's true stories. And to be fair, I let other people's stories trespass the truth of mine.
I try to cope by doing what I do, what I find purpose and joy in. For me, that has been writing and playing ball. It doesn't make the pain go away, but what else can I do?
My particular lifetime, my individual profile, represents something very basic to African-American history and culture because I was a second generation immigrant, so to speak, from the South. My grandfather was born in South Carolina - well, both grandfathers were born in the South.
Writers transform: they throw a hand grenade into the notion of reality that people carry around in their heads. That's very dangerous, very destructive, but not to do it means you are satisfied with the status quo - and that's a kind of danger as well, because a kind of violence is already being perpetuated.
A lot of people think the best work I've done was nonfiction - the 'Brothers and Keepers' book. But I think of myself as a fiction writer. And I think, if my work is put in perspective, all the books would be a continual questioning of what's true and what's not true, what's documented and what's not documented.
In Haiti, as I understand it, storytelling and history itself are not a business of necessarily elucidating facts or the truth of an incident, but finding the version that is most entertaining and therefore will get retold and live in immortality.
How do you talk about the Holocaust? How do you talk about slavery? Probably the best thing to do is just be quiet and hide from it, forget about it. Except, then it jumps up and bites you. Because it's there.
That's what writing is: it's imagining that you can make a world. That's what basketball is, too: it's imagining the game as a world.
I often want things to make definite statements. If I order onions sliced thinly on my hamburger, I don't want them to come out sort of medium. But that doesn't mean it's a reasonable desire, in all things.
Basketball can give us a kind of mystical awareness. Everything seems focused and in balance.
What basketball expresses is what jazz expresses. Certain cultural predispositions to make art. All African-American art has a substratum, or baseline, of improvisation and spontaneity. You find that in both basketball and jazz.
